Exact vinyl reissue from the original master tapes of the 1975 solo album by one half of Cybotron. While there is an electronic component to the album, this features a full band lineup and a sound that would be closely compared to vintage Hawkwind. Totally lethal, crazy space rock of the highest order.

"They say that this is the first wholly electronic music album recorded in Australia. Using only rudimentary recording equipment and in the main his trusty Korg synth Steve Maxwell Von Braund dropped this monster in 1975. He’d only just returned from the UK a few years earlier where he’d been exposed to the likes of Hawkwind on the cosmic tip, but perhaps more importantly many of the German Komische sounds, the likes of Can, Amon Duul and Tangerine Dream.

It’s a sound that would continue to obsess him, using his Korg to craft these highly experimental cosmic soundscapes. Later he would form Australia’ first Komische band Cybotron and record a few highly sought after albums in the 1970′ and 80′.

Yet Monster Planet is his first recorded foray into this unique sound.

At four epic tracks, Monster Planet is an apt description for this otherworldly beast. These aren’ songs, they’re sound suites, strangely hypnotic experimentations, manipulations of the ghosts in the machine, as Von Braund fiddles with the oscillations, arpeggiators and textures of his synthetic palette. It’s really forward thinking music, experimental in terms of its loose tangential structures and minimal ingredients. There’ an element of exploration here, of pushing his sounds to the outer reaches of musicality and then creating a whole new world there. In fact it’s almost as if he’ attempting to develop a new form of language, a method of communicating with the alien species he’ found on this Monster Planet.

It’s hard not to be reminded at times by Tangerine Dream’ Phaedra, yet Monster Planet is considerably more minimal, less musical and perhaps a little less polite. It does exist in the same stratosphere however, with Phaedra coming one year before Monster Planet.

It begins by sounding like a spaceship landing, oscillating synth lines, crunchy, squelchy highly textural electrics, with strange wasted otherworldly vocals from Masters Apprentices singer Jim Keays, before a crunchy Cybotronesque groove with bass, drums and Von Braund on sax kicks in. Yet the musical cohesion doesn’ last long, and we’re quickly ushered into a suite of exploratory synth lines, where Von Braund is transmitting these warm analogue pulses and signals off into the ether. In fact it’s quite amazing how much emotion he can conjure up with what is ostensibly just a couple of synth lines, pitching, gurgling and oscillating slowly.

To some extent the vocals of Jim Keays on the title track are a little ill fitting, though perhaps they can be seen more as an attempt to tether the album in the sounds of the day, to make this album a little less alien – but it doesn’ succeed. If anything it does the opposite and highlights how incredibly strange this album is.

This LP only reissue by new Melbourne label Dual Planet offers not just a gatefold cover with a faithful reproduction of the album from the original label Clear Light Of Jupiter, but remasters the album from the original master tapes and provides extensive contextual liner notes and photos. It’s possible it has never sounded so good. Not only is it great to shine a light on this forgotten period of Australian music, but it’s really pleasing to see such an obscure forward thinking album of genuine synth weirdness treated with the love and attention to detail that befits one of the most iconoclastic and unexpected albums released in this country." - Cyclic Defrost

There are no review yet. Be the first!

Product Review

customers also bought

Cheap price for this reissue of the first album from the band that ultimately evolved into the AOR radio friendly band. This stuff isn't like that at all. Essentially the initial incarnation of Journey featured Neal Schon and Greg Rolie from Santana, along with Aynsley Dunbar (post-Zappa), and bassist Ross Valory. The music is high-energy with strong progressive rock and fusion elements. The three instrumentals veer towards the fusion side but Rolie's organ work lend the music the prog rock touches. Schon simply annihilates on this entire disc - he sounds like a cross between Jeff Beck and Carlos Santana. Forget your preconceived notions - this is like a different band with the same name as the one you are thinking of. Not a wheel in the sky to be found...

"An absolute masterpiece on par with any symphfolk effort from the genre. One gem after another after another after another. This one makes all the right moves and the songs range from superb to downright breathtaking. Sensational musicianship throughout that is restrained and serves the songs tremendously well. This is music where the musicians appear to know just how fantastic the songs are and the reverence with which they are treated comes shining though.The vocals from Monteduro and the background harmonies are excellent throughout, and while the songs are often fleshed out with fairly elaborate, symphonic touches, the album maintains a certain intimacy that is returned to frequently." - ProgArchives

Killer price - check around!Recorded September 24th, 1969 at London's Royal Albert Hall, Jon Lord's Concerto For Group and Orchestra really was a meeting of two different worlds, combining rock and classical modes. The first album to feature the classic Mk2 line-up of Deep Purple, it was originally released on Harvest Records in 1970 as a single LP. Now across six sides of vinyl, this is the very first time that the night's entire performance, starting with Sir Malcolm Arnold conducting The Royal Philharmonic Orchestra for his Symphony No. 6, Op. 95, and ending with the encore of the Third Movement: Vivace-Presto, has appeared on LP.Deep Purple survived a seemingly endless series of lineup changes and a dramatic mid-career shift from grandiose progressive rock to ear-shattering heavy metal to emerge as a true institution of the British hard rock community; once credited in The Guinness Book of World Records as the globe's loudest band. Their revolving-door roster launched the careers of performers including Ritchie Blackmore, David Coverdale, and Ian Gillan."Ritchie Blackmore sounds great and plays his heart out, and you can tell this band is going to go somewhere, just by virtue of the energy that they put into these extended pieces." -Bruce Eder, allmusic.comFeatures:• 180g Vinyl• Triple LP• 2002 remix & remasterMusicians:Jon Lord, keyboardsRitchie Blackmore, guitarIan Gillan, vocalsRoger Glover, bassIan Paice, drumsThe Royal Philharmonic OrchestraMalcolm Arnold, conductorSelections:LP 1 - Side 1:Sir Malcolm Arnold's Symphony No.6, Op.951. 1st Movement: Energico2. 2nd Movement: Lento3. 3rd Movement: Con FuocoLP 1 - Side 2:1. Hush2. Wring That NeckLP 2 - Side 3:1. Child In TimeLP 2 - Side 4:Concerto for Group and Orchestra1. First Movement: Moderato - AllegroLP 3 - Side 5:Concerto for Group and Orchestra1. Second Movement: AndanteLP 3 - Side 6:Concerto for Group and Orchestra1. Third Movement: Vivaco - Presto2. Encore

New progressive rock/metal trio from the UK that has the chance to blow up big. The band goes for an epic sound with the core trio augmented by the "The Lost Orchestra". Melancholy seems to be the overall theme here reminding of Riverside, Opeth, Tool and even some Pink Floyd. It can get quite heavy at times but overall it would be safe to categorize this as progressive rock. There is the odd growly part that made me think of Opeth - not a bad thing. The symphonic parts are quite beautiful and sad at the same time - Riverside's "Loose Heart" would be an apt comparison. An emotional roller coaster ride with plenty of space and...yes...intricacy. If you like your prog drenched in thick atmosphere this one is going to crush your skull. Highly recommended.

After a four year wait, Colour Haze return with their most lethal effort yet. Led by guitarist Stefan Koglek, Colour Haze play an (almost) instrumental form of old school guitar driven psychedelia along the lines of early Ash Ra Tempel. The trio of Koglek, Philipp Rosthofer (bass), and Manfred Merwald (drums) are augmented with keys (some' tron!) and percussion. The addition of percussion on parts of the album add a Santana-esque feel and there is even some horns tucked away in spots. The album is split between two CDs (although it would fit on one but Koglek felt it sounds best this way). Overall the primary focus is on Koglek. He unleashes the f**king fury on loooooong jamz that will rip apart your skull. Ocassionally Koglek inserts some vocals at the heads of the tunes but then his voice gets out of the way and his heavily distorted leads take you to another galaxy. This one should make my top 10 for 2012. BUY OR DIE!

Second album of cosmic folk recorded for RU Kaiser's Pilz imprint. The band was really just the duo of Maik Hirschfeldt and Dolly Holmes with some input by producer Dieter Dierks. While this German/British duo's first effort was straight ahead folk and not all that interesting, Saat is a great mystical musical journey. Not purely acoustic as you would imagine it features some great electric guitar runs from Hirschfeldt as well as synth, vibes and flute. Holmes also provides keyboards including organ, Mellotron, and piano. Holmes once sang for Incredible String Band and has quite a nice voice. This one fits in nicely with the label - you can hear Kaiser's stamp on the music. I'm sure there was a mountain of herb superb consumed. Its the only thing that could explain these epic length tracks. Highly recommended.

Wolf People are an incredible ensemble from the UK. They channel the late 60's/early 70's British sound. Definitely psychedelic buzz from these guys. Folk elements crop up that will remind you a little bit of Fairport Convention but the electric side dominates and it constantly reminds me of bands like The Groundhogs and High Tide - think TS McPhee and Tony Hill blazing away. This is guitar oriented music that is completely immersed in THAT SOUND. Killing solos through out. Man I love this band!!! Vinyl edition comes with a digital download drop card. Highly recommended.

"From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies." - All Music Guide

"I have often likened being an author for an online music webzine as similar to being a treasure hunter, we sift through hours of detritus trying to find that gem of music composition that strikes a chord and has meaning, unlike the bubblegum pop of the mainstream world where it is all about money and marketing. True, the music that we champion and review may have little commercial success but, for the artist, this is the culmination of many hours of soul searching and downright hard work.These little gems of music are what I live for as a reviewer and, when you get a surprise release from out of the blue that simply knocks your socks clean off then, it makes it all worthwhile and puts a huge smile on my face. That sensation of the hairs standing on the nape of my neck started again when I first heard Anton Roolaart’s new release ‘The Plight of Lady Oona’. This time, it wasn’t my discovery, this record was sent my way by Lady Obscure herself and, upon seeing the album cover, I was immediately hooked, as you should know by now, I’m always a sucker for an impressive album sleeve (showing my age there). As I worked my way through multiple listens, it wasn’t just the cover that impressed me.Anton Roolaart is a Dutch artist who lives in America, he has one previous album release, ‘Dreamer’ in 2007. Anton’s music is said to portray the quintessence of melodic progressive rock accompanied with lush orchestration, and this new release is certain to capture the listener’s attention once again. He does this with the help of some talented friends and musicians including Vinnie Puryear, Kendall Scott, Pieter van Hoorn, Rave Tesar and Michael Frasche. Renaissance’s Annie Haslam provides additional vocals on the title track. All songs were composed and produced by Anton with the help of co-producer Rave.You are immediately drawn into Anton’s lush cinemascapes and soundscapes with the brilliant Gravity, gentle, lush instrumentation accompanied by a plaintive vocal infuses the music with a sci-fi feeling, future music if you like. The relaxed yet uplifting tempo is central to the pathos of the track, it is atmospheric with the textured keyboards central to everything. There are hints of 70’s progressive rock in the slow, measured moog solo but, to these ears, it is a song that is set in the stars and the emptiness of space.Stars Fall Down is introduced by a lilting piano and breaking vocal, when the keyboards and laid back drums slip into place it has a real synth pop ethos. That 80’s feel is emphasised by the organ and catching vocal that increases in power as the track runs on. Another song that is food for a healthy intellect, another nice touch is the pared back, distorted solo that gives a smooth, ambient haze to the proceedings. This guy has more than one string to his impressive bow.If you are after an atmospheric, multi-faceted prog epic full of wonderful melodies, plot turns and structures then, look no further than title track The Plight of Lady Oona. Flute and acoustic guitar drift in with the mist at the beginning of the song, a folk influenced vocal and piano carry on the ambience as the tale begins. There are multiple influences at play here that Anton moulds into his own unique sound around which, the addition of Annie Haslam’s dulcet tones is a clever touch. The mood take son a definitive 70’s Yes edge with the catchy guitar and expressive bass underscoring an urgent keyboard that ramps up the pace, a spiralling, complex guitar adds another layer of sophistication along with a fulsome organ and minstrel-like guitar. The interlude that follows, full of mystery and opaqueness, is leading the way for Annie’s refined and exquisite vocal. This part of the song is poignant and full of feeling as, eventually, Annie and Anton join forces to deliver an uplifting vocal experience followed by some delightful piano and exquisite guitar work which blossoms into an impressive instrumental section where church organ, soaring keyboards and chiming guitar all contribute to a smorgasbord of musical delight. That mediaeval minstrel effect returns at the end of the song with a short vocal and extended acoustic guitar section that John Williams would be proud of, this is a precise and complicated track that is delivered with verve and aplomb, sublime.There is a darker intensity to Standing in the Rain, it is ominous, evoking a dystopian spirit. The vocal delivery is heightened and impassioned, the guitar riffs are momentous and deep lying and the percussion is moody and profound. The violin touches are vivid and the song cuts through you like a knife, holding you in its hypnotic stare, unable to break free as the mesmerising guitar solo slowly works its way into your psyche.After the potent tension of the previous track, instrumental Memoires is a musical breath of fresh air, dainty and enchanting. The acoustic guitar dances around your mind before a luscious piano makes your heart sing. The heavenly keyboards and ululating guitar join forces to bring a lustre of hope to all around, a real ‘feel good track’ to my ears.This piquant treat for aural receptors comes to a close with The Revealing Light and, at the beginning it is rather enigmatic and secretive and a very slow burner. The flute sound signals the start of something as the cryptic vocals begin, ardent and fervid, backed by a distorted, acid guitar. Lush, electronic keyboard notes envelop you in their embrace as the song takes a psychedelic turn, all Sgt Pepper in its tone. Things change with a twisting, coruscating note delivered by a melancholic guitar and the solemn drum beat giving a sober feel to the track as a sombre voice over closes out the album with just about the right feel.‘The Plight of Lady Oona’ is an album that gives up its delights bit by bit, there is no instant gratification on offer here, if you are prepared to invest time in the music it will deliver a cornucopia of musical delights. Anton Roolaart is a name to look out for, my first introduction to his music has been an intensive and incredibly impressive one and, it won’t be my last." - Lady Obscure